That's the crazy thing about the Rokinon - it allows so much image in the frame. This is a single image. I just used a typical tripod (Manfrotto 190xb) with mount in a vertical position. It is a 30 second exposure, ISO 1250, and I think the aperture was f/4 (no EXIF from the Rokinon ). I've basically only changed the white balance and played with the tone curve a bit.

That's the crazy thing about the Rokinon - it allows so much image in the frame. This is a single image. I just used a typical tripod (Manfrotto 190xb) with mount in a vertical position. It is a 30 second exposure, ISO 1250, and I think the aperture was f/4 (no EXIF from the Rokinon ). I've basically only changed the white balance and played with the tone curve a bit.

Impressive, thanks! You've sold me on my next lens

The manufacturer will be glad to hear that. As long as you know its limitations going in, it is one fabulous tool for unleashing new areas of creativity.

I purchased the Cine version of the lens. Although I'm happy with many of the images that I've gotten with it for stills, I'm going to have to send it in for service because of a problem with the focus ring. Starting from close focus to far the focus marks seem to match actual focus, but when racking focus from infinity to, for instance, an object that's 10 feet away I have to rack the focus ring to about the 2 foot mark. Really makes it impossible to repeat focus stops while filming with it. Hopefully the warranty repair will fix it.

That's the crazy thing about the Rokinon - it allows so much image in the frame. This is a single image. I just used a typical tripod (Manfrotto 190xb) with mount in a vertical position. It is a 30 second exposure, ISO 1250, and I think the aperture was f/4 (no EXIF from the Rokinon ). I've basically only changed the white balance and played with the tone curve a bit.

Impressive, thanks! You've sold me on my next lens

The manufacturer will be glad to hear that. As long as you know its limitations going in, it is one fabulous tool for unleashing new areas of creativity.

I'm not sure if I mentioned it before, but one of its shortcomings can be resolved using an AF confirmation chip. I glued one onto the back of the lens mount and calibrated it using a combination of camera button commands. It's a lot easier to nail focus this way

the 16-35L is more handy and all around lens. I'd love to have one. (however i use the similar 10-22 with my crop camera) however 14mm is WIDER than 16mm.. and yes those 2mm can make a difference (major reason why i chose 10-22 over the tokina 11-16 which is only 1mm shorter but thats another story.)

I purchased the Cine version of the lens. Although I'm happy with many of the images that I've gotten with it for stills, I'm going to have to send it in for service because of a problem with the focus ring. Starting from close focus to far the focus marks seem to match actual focus, but when racking focus from infinity to, for instance, an object that's 10 feet away I have to rack the focus ring to about the 2 foot mark. Really makes it impossible to repeat focus stops while filming with it. Hopefully the warranty repair will fix it.

I have read others report some inaccuracy with the focus ring as related to the distance scale on the lens. For many applications it is a non-issue (stills, as you said), because you typically have such a large depth of field that you quickly discover what works in most situations and don't hardly think about focus. I can definitely see what you mean about racking focus for video purposes. I'm assuming that you must be shooting wide open in the situation you described, as even stopped down 1-2 stops I'm not sure you could differentiate much between infinity and 10 feet.

I would say that infinity focus comes sooner on my copy that what the distance scale says, although I haven' checked it scientifically yet.

the 16-35L is more handy and all around lens. I'd love to have one. (however i use the similar 10-22 with my crop camera) however 14mm is WIDER than 16mm.. and yes those 2mm can make a difference (major reason why i chose 10-22 over the tokina 11-16 which is only 1mm shorter but thats another story.)

I wouldn't argue with any of your conclusions. The biggest advantage the Rokinon/Samyang has (other than the extra width) is sharpness. It is much sharper than any of the other wide angle options I have seen and used.

I purchased the Cine version of the lens. Although I'm happy with many of the images that I've gotten with it for stills, I'm going to have to send it in for service because of a problem with the focus ring. Starting from close focus to far the focus marks seem to match actual focus, but when racking focus from infinity to, for instance, an object that's 10 feet away I have to rack the focus ring to about the 2 foot mark. Really makes it impossible to repeat focus stops while filming with it. Hopefully the warranty repair will fix it.

I have read others report some inaccuracy with the focus ring as related to the distance scale on the lens. For many applications it is a non-issue (stills, as you said), because you typically have such a large depth of field that you quickly discover what works in most situations and don't hardly think about focus. I can definitely see what you mean about racking focus for video purposes. I'm assuming that you must be shooting wide open in the situation you described, as even stopped down 1-2 stops I'm not sure you could differentiate much between infinity and 10 feet.

I would say that infinity focus comes sooner on my copy that what the distance scale says, although I haven' checked it scientifically yet.

I purchased the Cine version of the lens. Although I'm happy with many of the images that I've gotten with it for stills, I'm going to have to send it in for service because of a problem with the focus ring. Starting from close focus to far the focus marks seem to match actual focus, but when racking focus from infinity to, for instance, an object that's 10 feet away I have to rack the focus ring to about the 2 foot mark. Really makes it impossible to repeat focus stops while filming with it. Hopefully the warranty repair will fix it.

I have read others report some inaccuracy with the focus ring as related to the distance scale on the lens. For many applications it is a non-issue (stills, as you said), because you typically have such a large depth of field that you quickly discover what works in most situations and don't hardly think about focus. I can definitely see what you mean about racking focus for video purposes. I'm assuming that you must be shooting wide open in the situation you described, as even stopped down 1-2 stops I'm not sure you could differentiate much between infinity and 10 feet.

I would say that infinity focus comes sooner on my copy that what the distance scale says, although I haven' checked it scientifically yet.

I would recommend using Live View, aperture wide open, know your distance from your subject and adjust until your subject is in focus - now look at your distance scale - is it where it should be considering the actual distance?

Another beautiful shot! You do a lot of driving around dusk if I may add. Whereabouts do you live/are these shots taken?

I don't really go out all that often, but I do know my spots so I don't waste time. I actually have little spare time, so I have to shoot efficiently. I live in Pembroke, Ontario, Canada, and all of the shots with the Roki have been taken around here.

Just like to keep some variety in my work. Different looks appeal to different people, and I've got followers who are big fans of monochrome work. I don't like being tied down to any certain type of photography or even a certain look - I want to be able to be creative!

Here's a link to the review that I published today on the Rokinon. Many more color pictures there